Проаналізовано різноманітні форми взаємопроникнення та синтезу автентичного фольклору й естрадної музичної культури України (стилі рок, поп-музика та джаз). Розкрито зміст основних понять, пов'язаних з музичними стилями, що складають естрадну масову музику. Досліджено історію виникнення та розвитку естрадної музики. Показано значення синтезу та взаємопроникнення фольклору та естрадної музики, що є результатом поширення світового напрямку World Music та загальної тенденції глобалізації. Виявлено особливості розвитку сучасної естрадної музики на Україні. Розглянуто характерні риси фольклору, що використовуються в українській естрадній музиці. Визначено основні типологічні характеристики синтезу фольклору й естрадної музики.

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Дисертація є першим комплексним дослідженням прояву характерних ознак блюзу в контексті неакадемічної музики ХХ ст. Блюз розглянуто як феномен музичної культури, який, незважаючи на масштаб свого впливу на становлення музичної культури ХХ ст., зокрема неакадемічної, не втратив власних характеристик та залишився носієм оригінальних ознак, які і сьогодні виділяють його на тлі сучасної світової культури. Вивчений соціокультурний аспект передумов виникнення блюзу, в мистецтвознавчому ракурсі досліджено його головні ознаки, виявлено характеристики, що посідають центральну позицію в комплексі його жанрових та стилістичних рис. Проаналізований прояв головних характеристик блюзу в рамках музичних напрямів jazz, rock, pop та музичних стилів rhythm&blues, rock'n'roll, funk, soulта rap.Ключові слова: блюз, афроамериканська культура, маргінальність, неакадемічна музика ХХ ст.^UThe dissertation is the first comprehensive study of the manifestation of blues in non-academic music of the twentieth century. The study highlights the state of scientific development of the problem, analyzes the source base of the research and presents the conceptual and categorical apparatus of solving the formulated issues. In the dissertation the preconditions of blues origin are investigated. It is stated that the list of these preconditions includes phenomena in the field of sociology, ethnography, psychology and culture studies. It is noted that the culture of African Americans should be classified as a subcultural phenomenon in the context of the American culture.In the course of the research, it was proved that the blues is a carrier of features of the musical genre, the musical style and musical form. It was found out that the basic feature of blues as a genre is improvisational performance. It is noted that the tradition of solo performance in the blues is a reflection of the process of personal identity of the African-American individual. The analysis of the musical form “12-bar blues” is done and the results are presented. It is established the musical form “12-bar blues” is a manifestation of the factor, when the traditions of African-American culture are opposed to the leading principles of Western European culture. The analysis of a complex of stylistic features of blues music, its performing traditions, special text themes is carried out. It was found that the characteristic genre feature of blues is the use of guitar. It is noted that the concept of “frustration” and “catharsis” should be added to the list of characteristics of blues as a genre.The concept of marginality in the context of art history is clarified. It is noted that in the art aspect the blues is a carrier of signs of marginality due to the peculiarities of its stylistic features in the context of American music culture. It was found out that this feature of the blues, namely marginality, comes from the characteristics of African American culture, which allows us to indicate the African component as dominant in the discussed phenomenon of musical culture.It is noted that the degree of influence of blues in the context of non-academic music of the twentieth century is different. It was found out that the greatest influence of blues in jazz music is mostly traced in the context of the bebop music style. It is stated that in the process of jazz music formation the influence of blues as a style gradually decreased, while the level of manifestation of genre and form-forming features of blues, on the contrary, increased. Most of the leading characteristics of the blues were reproduced in rock music and music styles such rhythm&blues and rock'n'roll. It is noted that the musical style of rhythm&blues is a neo-tradition of blues performance. Within the music styles such as funk, soul, rap and such as direction of pop music, the degree of manifestation of the main characteristics of blues is set as average. The least signs of blues were reproduced in the musical direction of pop, due to the dominant position of the entertainment component and the lack of signs of marginality.It is stated that the characteristic genre, stylistic and formative features of the blues, which found expression in the musical trends and styles of non-academic music of the twentieth century, are closely related to the socio-cultural conditions of its origin and, accordingly, socio-cultural characteristics of the African American community. In this regard, the important position of African American culture in the formation of non-academic music of the twentieth century is pointed out. Its characteristic features, namely: socio-cultural marginal position, high level of ethnic self-identification, features of the psychological state of the migrant, features of acculturation of Africans in the USA cultural space, the factor of constant resistance and struggle of African Americans for their rights, close connection of musical creativity played a leading role in shaping the system of main characteristics of the blues, which formed a separate layer of non-academic music of the twentieth century and, at the same time, greatly influenced the process of its formation.Key words: blues, African American culture, marginality, non-academic music of the XX century.

У дисертації з'ясовано роль стилю bebopу рамках історичного розвитку музичної джазової культури США. Музичний стиль bebopрозглянуто як складний соціокультурний феномен, що заклав основу для формування провідних засад наступної епохи сучасного джазу. Проаналізовано передумови виникнення стилю bebop. Досліджено його провідні особливості, серед нихокреслені риси, які притаманні ері традиційного джазу, та ознаки, що сприяли формуванню виконавських традицій та комплексу засобів музичної виразності сучасної джазової епохи. Проаналізовані виконавські стилі провідних діячів музичного стилю bebop, виявлена їх роль у становленні вказаного музичного стилю та, водночас, в еволюційних процесах, які відбулися в рамках джазової музичної культури США 1940 – першої половини 1950-х років.Ключові слова: музичний стиль bebop, еволюція, традиційний джаз, ера сучасного джазу, Ч. Паркер, Д. Гіллеспі, Т. Монк, виконавський стиль.^UThe dissertation clarifies the role of the bebop style in the historical development of US jazz music culture. The study analyzes and reveals the state of scientific development of the problem, provides the analysis of the source base of the study, as well as clarifies the content of key terms and concepts that were involved in the research of the problem. It is stated that the bebop style, which plays a significant role in the development of jazz music, has not been researched andfully described in terms of a particular concept or theory.It is pointed out that the list of preconditions for the emergence of musical style, which became a catalyst for strategic change in jazz music culture, should include features of the process of social and ethnic self-determination of African Americans in the 1940s. The characteristics of the process of ethnic self-determination of African Americans, which was complex due to the peculiarities of the relationship between civicand ethnic identity of the African American individual. The absence of signs of mass culture in the primary characteristics of jazz music was revealed and it was noted that this aspect played a leading role at the beginning of the evolutionary changes that took place within the bebop music style.The connection between the leading features of the musical language of the bebop style and its socio-cultural characteristics has been revealed. Elements that have become a fundamental component of the process of transition of jazz music culture from the period of traditional jazz to the era of Modern Jazz are specified. The characteristic features of the musical language of the bebop style, which are common with the elements of musical speech of the traditional jazz era, are outlined. It is stated that, based on the general principles of development of any phenomenon, the bebop music style period should be characterized as a revolutionary one in the evolutionary development of jazz music. It is stated that within the framework of this musical style there was a transformation of the traditions of stage behavior and stage image.The dominant factor of improvisation within the specified musical style is pointed out, which significantly influenced the formation of a set of means of musical expression of the bebop style. It is noted that the aspect of improvisation has led to a decrease in the leading role of thematic melodic material, which is also reflected in the traditions of improvisation of the era of modern jazz. This aspect is mostly reflected in the traditions of free jazz, where the theme of a jazz work becomes only an emotional occasion for improvisation, but not a semantic grain any longer. It has been noted that the aspect of freedom that was introduced into improvisation by bebop musicians is also a reflection of the racial issue that has permanently accompanied the African-American community in the United States.The performance style of the leading figures of the bebop musical style, namely C. Parker, D. Gillespie and T. Monk, is analyzed. Information about their creative achievements is provided.The analysis of their psychological features, their temperament in particular and its characteristics in terms of interaction with the characteristics of the musical language of these performers was done. According to the results of the study, it was establishedthat these musicians represent a triad formed on the basis of their temperaments: introvert, ambivert, extravert. It is stated that in the framework of the work of these jazz performers there was a full cycle of formation of a new style, which formed the basis for the stylistic complex of the modern jazz era.The theoretical significance of the dissertation is that the musical style of bebop is presented as a complex socio-cultural phenomenon, which provides an opportunity to characterize its different aspects,which, in turn, opens wide prospects for further study of this phenomenon of the twentieth century music culture. The novelty of the study is that for the first time in Ukrainian art history an attempt was made to comprehend the transformational processes that took place in the jazz music of the twentieth century, which, in turn, influenced the formation of the next era of modern jazz, which continues today.Keywords: the bebop music style, evolution, traditional jazz, era of modern jazz, C. Parker, D. Gillespie, T. Monk, performing style.